The Heavy Entertainment Show / Love My Life / Mixed Signals (Live at the BRIT's)

Robbie Williams

Sony

DL

Waterfall

Stargate x Pink x Sia

Sony

DL

Behind the Smoke

Steve Hackett

Sony

DL

Back to You

Taylor Henderson

Sony

DL

KW

The Accidents feat Keller Williams

Sony

DL

Bridge Back to Your Heart

The Heart

Sony

DL

Bloodstain

Wrabel

Sony

DL

I Still Wait for You

Xylo

Sony

DL

So Good (The Wild Remix)

Zara Larsson

Sony

DL

So Good (Goldhouse Remix)

Zara Larsson feat Ty Dolla $ign

Sony

DL

Lady Villain

Daye Jack

Warner

DL

Djon Maya Mai (Vintage Culture Remix)

Synapson feat Victor Deme

Warner

DL

Happy Street

Paul Shaffer feat Bill Murray

Warner

DL

Way Down We Go (Stripped)

Kaleo

Warner

DL

Real Thing

Zac Brown Band

Warner

DL

Malibu Feels

Johnny Yukon

Warner

DL

Water Flows (Remixes EP)

Klyne

Warner

DL

One of Us

New Politics

Warner

DL

Starting from Now

Catherine McGrath

Warner

DL

Girl at Coachella

Matoma & Magic! Feat D.R.A.M.

Warner

DL

Settle the Score

Niklas Ibach vs Cookin' on 3 Burners ft Kylie Auldist

Warner

DL

Hey Ma (Spanish Version)

Pitbull & J. Balvin feat Camila Cabello

Warner

DL

Know Love (EP)

Wild Culture

Warner

DL

Fog

Wear Your Wounds

Warner

DL

Surface

Pluto feat Nevve

Warner

DL

Sad for You

Njomza

Warner

DL

Keep it Moving (The Remixes)

Alex Newell

Warner

DL

Now and Later (James Hype Remix)

Sage the Gemini

Warner

DL

Taped Up Heart (Acoustic)

Kream feat Clara Mae

Warner

DL

Remix (EP)

Betsy

Warner

DL

The Heat (I Wanna Dance with Somebody) (Black Saint Remix)

Ralph Felix & SDJM

Warner

DL

The Milk & the Honey

Celeste

Warner

DL

Last Night in the City (The Remixes)

Duran Duran feat Kiesza

Warner

DL

Intro to HAMthology (!LLMIND)

Cast of Broadway show Hamilton

Warner

DL

Weekends

Lines

Warner

DL

Trouble (Remixes)

The Knocks feat AbsoFacto

Warner

DL

Biggest Fan

Will Joseph Cook

Warner

DL

Sweet

Little Dragon

Warner

DL

Stacks

Yellow Claw feat Quavo, Tinie Tempah & Cesqeaux

Warner

VS

Girlfriend

In Stereo

Warner

DL

Big Night Out

Butterfingers

Bewilderbeasts/MGM

DL

Keep Me Crazy

Sheppard

Empire of Song/MGM

DL

Follow You

Alex Vargas

Universal

DL

Spun

Angie

Universal

DL

Daydreams

Betti

Universal

DL

Up Down

Boy Epic

Universal

DL

Big City Dream

Brother Firetribe

Universal

DL

Little Paradise

Eliane Elias

Universal

DL

Hear You Me

Greywind

Universal

DL

Air Raid

He is Legend

Universal

DL

Look Up

Kevin Ross feat Laecrae

Universal

DL

RT

No Look

Lunna

Universal

DL

Belong

San Fermin

Universal

DL

Commiserations (KDA Weapon Remix)

Society

Universal

DL

Want it

SoMo

Universal

DL

Gimme Respect

Tempa

Universal

DL

Wallflowers

The Chain Gang of 1974

Universal

DL

We'll Meet Again

Vera Lynn feat Alfie Boe

Universal

DL

Spark

Yaron Herman

Universal

DL

Dumb Fun

Pulled Apart by Horses

Caroline Int./UMA

DL

Hostage Stamps

At the Drive-in

Cooking Vinyl/UMA

7" Vinyl

Big Picture

London Grammar

Dew Process/UMA

DL

Talk 2 Her

Sam Coffey & the Iron Lungs

Dine Alone/UMA

DL

Indoors

The Flatliners

Dine Alone/UMA

DL

Changes (Remixes EP)

JNTHN STEIN

M.O.S./UMA

DL

Summer

MOST feat Ruby Prophet

M.O.S./UMA

DL

Blindside

SCNDL feat Rachel Costanzo

M.O.S./UMA

DL

Blossom

Milky Chance

Neon/UMA

DL

Sleep (Lost Freqiencies Remix)

Lea Rue feat Lost Frequencies

Possum/UMA

DL

Damned (if You Do)

The Mavericks

Thirty Tigers/UMA

DL

11th

When I Was a Boy

A Great Big World

Sony

DL

11th

Meditation

Goldlink feat Jazmine Sullivan & Kaytranda

Sony

DL

11th

More Blues (Alternative Version)

Pink Floyd

Sony

DL

11th

She Lovin' it

Trey Songz

Warner

DL

11th

Water (Drowning)

A Boogie with Da Hoodie feat Kodak Black

Warner

DL

Universal

DL

12th

Trap Trap Trap

Rick Ross feat Young Thug & Wale

Sony

DL

Universal

DL

13th

Unworthy

Vancouver Sleep Clinic

Sony

DL

Universal

DL

14th

We are Your Receiver (Autograf Remix)

Klangstof

Warner

DL

14th

Off White Limousine

Client Liaison

Warner

DL

15th

#104

Alpha Wolf

Cooking Vinyl/UMA

DL

16th

Flame

Tinashe

Sony

VS

16th

100 Like Me

Stephanie Rainey

Warner

xtra

DL

Phys

Other

Albums

Artists

Labels

DL

CD

The Secret Daughter (The Secret Edition)

Jessica Mauboy

Columbia/Sony

DL

CD

Fierce Mercy

Colin Hay

Sony International

DL

CD

Wired

Mallory Know

Sony International

DL

CD

Vinyl

Heartworms

The Shins

Sony International

DL

CD

CD+Vinyl

Conformicide

Havok

Sony International

DL

CD

CD+Vinyl

Home is a Heartache

The PictureBooks

Sony International

DL

2CD

Best + Live

Chickenfoot

Ear Music/Sony

BR

CD+Dvd

Symphonic - Live in Bulgaria 2013

Asia

Frontier/Sony

CD

A World of Fools

Lionville

Frontier/Sony

CD

Songs of Cinema

Michael Bolton

Frontier/Sony

CD

Can't Go Home

Unruly Child

Frontier/Sony

CD+BR

Close to the Sun

Place Vendome

Frontier/Sony

BR+CD

CD+Dvd

Live at the Royal Albert Hall

Adele

Columbia/Sony

DL

Fail You Again

Can't Swim

Sony

DL

The Best of Everything

Mario Lanza

Sony

DL

CD

Ripe Dreams, Pipe Dreams

Cameron Avery

Warner Brothers

DL

5CD

5xVinyl

50 Song Memoir

The Magnetic Fields

Nonesuch/Warner

Ltd Ed V

DL

CD

Vinyl

Millport

Greg Graffin

Warner Brothers

CD+Dvd

Live from Austin, TX

Steve Earle

Warner Brothers

2xVinyl

The Madness of Many (Opaque or Transparent Vinyl)

Animals as Leaders

Warner Brothers

Vinyl

Devil is Fine

Zeal & Ardor

Warner Brothers

DVD

Live in San Diego

Eric Clapton with J.J. Cale

Warner Brothers

DL

Number 1 Angel

Charli XCX

Warner Brothers

DL

Her Greatest from Abbey Road

Vera Lynn

Warner Brothers

DL

The Electric Man

Flagship

Warner Brothers

DL

Philanthropy

Squire

Warner Brothers

DL

Detroit Twelve String Blues & Rags

Todd Albright

Warner Brothers

DL

Pink Motel

Pink Slip

Warner Brothers

DL

CD

Black and White Rainbows

Bush

Caroline Int./UMA

DL

CD

Vinyl

The Order of Time

Valerie June

Caroline Int./UMA

CD

Vinyl

Time's Up

Buzzcocks

Domino/UMA

DL

CD

Different Creatures

Circa Waves

Virgin UK/UMA

CD

Off the Grid

Bliss N' Eso

Liberation/UMA

CD

Vinyl

The Navigator

Hurray for the Riff Raff

Liberation/UMA

CD

The French Press (EP)

Rolling Blackouts Coastal Fever

Liberation/UMA

DL

CD

Deep South

Josh Turner

MCA Nashville/UMA

DL

CD

Way Out West

Marty Stuart & His Fabulous Superlatives

Cooking Vinyl/UMA

CD

Vinyl

Into Infinity

Mindsnare

Resist/UMA

CD

Vinyl

The Holy Bull Rides Fast

Mindsnare

Resist/UMA

CD

2xVinyl

Geisterfaust

Bohren & Der Club of Gore

Balance/UMA

CD

2xVinyl

FJAAK

FJAAK

Balance/UMA

CD

I Go Back Home

Jimmy Scott

Balance/UMA

CD

The Final Experiment

Shed

Balance/UMA

CD

Vinyl

Forget

Xiu Xiu

Balance/UMA

Vinyl

After a Time

Holly Throsby

Spunk/UMA

Vinyl

Lifelines

I Prevail

Caroline Int./UMA

Vinyl

Layers

Kungs

Universal Int.

DL

Love Made a Way (Live in Nashville)

Aaron Shust

Universal

DL

Alive

Edge of Paradise

Universal

DL

Hindrance

High Hi

Universal

DL

Folk Hop N' Roll

Judah & the Lion

Universal

DL

Deluxe

Hits and Pieces - The Best of

Marc Almond

Universal

DL

Constraint

Plaitum

Caroline Int./UMA

DL

Front Porch Sessions

Reveremd Peyton's Big Damn Band

Thirty Tigers/UMA

DL

I Keep it to Myself - The Best of

Wilko Johnson

Universal

DL

CD

Back to the Garden

The Heart Collectors

Spins the Gold Records/MGM

DL

Roses

Beatrix Players

Beatrix Players/MGM

DL

Dance Dance

The Wiggles

ABC Music/MGM

DL

Chemical Lullabies (EP)

Bad Moon Born

Bad Moon Born/MGM

DL

Sober & Godless

The Rumjacks

Four Four/ABC Music/UMA

DL

Gangs of New Holland

The Rumjacks

Four Four/ABC Music/UMA

CD

Liam Gerner & the Sunset Pushers

Liam Gerner & the Sunset Pushers

Independent/MGM

CD

2xVinyl

Musique De France

Acid Crab

Proper/Crammed Discs/Planet

CD

Vinyl

Dread Times

Dreadzone

Essential/Dubwiser/Planet

CD

Vinyl

Funny Tears

Booher

Redeye/Old Flame/Planet

2CD

2xVinyl

Either/Or: Expanded

Elliott Smith

Redeye/Kill Rock Stars/Planet

CD

Vinyl

You Tried

Hater

Redeye/PNKSLM Records/Planet

CD

Vinyl

Heath Green & the Makeshifters

Heath Green & the Makeshifters

Redeye/Alive Records/Planet

CD

Vinyl

Taking the Long Way Home

Richard Laviolette

Redeye/You've Changed/Planet

CD

Vinyl

The Man Who Made Himself a Name

Shelby Earl

Redeye/Nine Mile/Planet

CD

Vinyl

Returning Current

Snowblink

Redeye/Outside Music/Planet

CD

Purp Vin

Thelma

Thelma

Redeye/Tiny Engines/Planet

Lavend V

Wild Pink

Wild Pink

Redeye/Tiny Engines/Planet

DL

CD

Daily Affirmations

CohenBeats

Stones Throw/Inertia

DL

CD

Fink's Sunday Night Blues Club Vol.1

Fink

R'Coup'D/Inertia

DL

CD

Feel Infinite

Jacques Greene

Lucky Me/Inertia

DL

CD

Providence

Nathan Fake

Ninja Tune/Inertia

DL

CD

Watercolour

Porter Ray

Sub Pop/Inertia

DL

CD

Elektrac

Shoebaleader One

Warp/Inertia

DL

CD

Digging a Tunnel

Sir Was

City Slang/Inertia

DL

CD

Ultramega OK (re-issue)

Soundgarden

Sub Pop/Inertia

DL

Phys

Compilations

Labels

DL

4CD

Ultimate… Acoustic

Various Artists

Columbia/Sony

DL

4CD

Ultimate… Chillout

Various Artists

Columbia/Sony

DL

4CD

Ultimate… Soul

Various Artists

Columbia/Sony

DL

Ultra Music Festival 2017

Various Artists

Sony

DL

The Chamber

Soundtrack by James Dean Bradfield

Sony

CD

Bad Girl

Soundtrack by Warren Ellis

Warner Brothers

DL

Music from the film 'Jawbone'

Soundtrack by Paul Weller

Warner Brothers

CD

The Original Blue & Lonesome

Various Artists

Redeye/Black Night/Planet

2xVin

2CD

Transforming the Analogue Space

Various Artists

IRL/Planet

DL

The Music of Nashville: Season 5, Vol.1

TV Soundtrack

Big Machine/UMA

DL

Beauty and the Beast (2017)

Soundtrack

Disney/UMA

DL

The Brain Box - Cerebral Sounds of Brain Records 1972-79

Various Artists

Universal

On Friday the 3rd of March Ed Sheeran released his third album "÷ (Divide)", which this week sees all sixteen tracks from the album enter the chart and land within the Top 40, but the lead singles from the album still occupying the top two spots on the ARIA Singles Chart again this week, with "Shape of You" now having stayed atop the chart for nine straight weeks now.

The nine weeks for "Shape of You" means it becomes the equal 28th longest running No.1 in Australia (1940 to 2017) alongside other former nine-week-hits "Blue (da be dee)" (1999), "MMMBop" (1997), "Macarena" (1996), "The Last Waltz" (1967), "You're the One That I Want" (1978), "...Baby, One More Time" (1999), "We are the World" (1985, the longest #1 for the 1980's), "Hips Don't Lie" (2006) and "Big Girls Don't Cry" (2007). For this decade it becomes now the equal third longest running No.1, alongside four previous nine-week running chart-toppers in "Sexy and I Know it" (2011), "Roar" (2013), "Que Sera" (2014) and last years "Closer" (2016). Plus Ed has now accumulated up fifteen weeks at No.1 this decade, placing him outright fifth on the list of "Accumulated Weeks at No.1: 2010's', one week behind Macklemore & Ryan Lewis' sixteen amassed weeks, whilst the top three exists of LMFAO (19 wks), Pharell Williams (21 wks) and Rihanna (23 wks). One last thing I just noticed too, this is now the longest running No.1 single for not only the Asylum or Atlantic labels, but for the Warner group (including Elektra, WEA, Warner {direct}, East West, Atlantic, Asylum and Sire).

So after two weeks at No.3, Ed's "Castle on the Hill" rises back up to it's former entry and peak position of No.2 for a seventh non-consecutive week, whilst last weeks No.2 debut for The Chainsmokers and Coldplay with "Something Just Like This" drops down a place to No.3. There are 18 new entries to the Top 100 this week, and the first and last of those newbies are NOT by Ed Sheeran. The highest new entry (and new NZ No.1 single) is the first track lifted from the June 16th second album for Lorde entitled "Melodrama", the single is called "Green Light", and it debuts at No.4 this week, becoming her second Top 10 single in Australia, as her EP "The Love Club" (feat "Royals") climbed to No.2 for two weeks in August of 2013.

Half of the Top 10 this week are Ed Sheeran songs from his third album "÷ (Divide)", with three songs from the set debuting within the ten. The highest of those is the ballad "Dive", which enters at No.5, followed at No.6 by "Perfect", whilst the new No.1 single in Ireland this week is the No.10 entry here, the Irish-infused "Galway Girl", which now gives Ed seventeen Top 10 singles in Australia, plus he beats the four within the Top 10 from June 2012 which was achieved by Karise Eden just after her Voice win, and four by Michael Jackson in mid-July 2009 (after his passing) by landing five singles within the Top 10.

Last week Kygo and Selena Gomez leapt to No.4 with their collaboration "It Ain't Me", which drops down three spots this week to No.7, whilst Julia Michaels' "Issues" also slump two places to land at No.8. Zedd and Alessia Cara jump up seven places to land at No.9 with "Stay", which becomes Alessia's second Top 10 single, and the third for Zedd, although this is the first time that Zedd has lead on a Top 10 single, as his two previous visits were as a guest artist, "Break Free" for Ariana Grande (HP-3, July 2014) and "Starving" by Hailee Steinfeld (HP-5, Oct 2016).

UP:* Bruno Mars leaps twenty-six places to No.14 with "That's What I Like", becoming his sixteenth Top 20 single in Australia.* Jax Jones is on hold this week at No.23 with the dance track "You Don't Know Me" featuring Raye.* Current tourist here Adele is also on hold at her peak of No.30 with "Water Under the Bridge". This tour also helps her lower down the charts too, as climbing up are "Hello" (69 to 65), "Send My Love (to Your New Lover)" (74 to 69), "Someone Like You" (95 to 82), and she returns to the Top 100 with "Rolling in the Deep" (#90), and "When We Were Young" (#92), giving her six songs on the chart this week* Justin Bieber just started his national tour here this past week, and climbs with "Sorry" (94 to 89) and re-enters the Top 100 at No.98 with "Love Yourself".

DOWN:* The first of five songs leaving the Top 10 this week is the 'Fifty Shades Darker' lead single for Zayn and Taylor Swift on "I Don't Wanna Live Forever" (HP-3x3, WI10-12), which is down six places to No.11, followed by Katy Perry and Skip Marley with "Chained to the Rhythm" (HP-4, WI10-3, now Gold (●) in sales), falling five to No.12. "Paris" (HP-4, WI10-7) for The Chainsmokers is down seven to No.15 and after only entering the ten last week, the Jon Bellion track "All Time Low" (HP-9, WI10-1) drops eight to No.17, whilst the final Top 10 exit goes to Pnau and their "Chameleon" (HP-4, WI10-7), which descends twelve places to No.22 this week.* The Calvin Harris and Frank Ocean entry from last week in "Slide" does just that, drop down six spots to No.18.* The Snakehips and MØ collaboration "Don't Leave" drops eight places to No.21 this week.* The second and final Gold (●) certification of the week goes to Martin Garrix and Dua Lipa with "Scared to Be Lonely", which is down eight spots to No.25.* Three songs dropping out of the Top 20 with double digits are "Adore" by Amy Shark (15 to 26), "Touch" by Little Mix (14 to 27) and "Rockabye" for Clean Bandit (18 to 28).* Starley drops thirteen places to No.33 with "Call on Me".* Whilst Andy Grammer is down fifteen spots to No.34 with his not so "Fresh Eyes".* The Weeknd and Daft Punk drops fourteen places to No.35 with "I Feel it Coming" and their other teaming in "Starboy" is down fifteen spots to No.43.* Both falling sixteen places are "Love$ick" by Mura Masa and "Capsize" for Frenship, falling to No.40 and No.41 respetively.* Last week "Cold" for Maroon 5 and Future peaked at No.27, now this week it falls fifteen spots to No.42.* Sage the Gemini just released new remixes for "Now and Later", but nationally it falls eighteen spots to No.44.* Down seventeen places to No.46 are "Bad Things" for Machine Gun Kelly and Camila Cabello.* Further tumbling tracks are "Stranger" for Peking Duk (31 to 50), "Play That Song" by Train (34 to 53), "Human" by Rag'N'Bone Man (42 to 59), "24k Magic" by Bruno Mars (47 to 60), "Just Hold on" by Steve Aoki & Louis Tomlinson (48 to 64), "Heavy" by Linkin Park and Kiiara (43 to 66) and "Love" by Lana Del Rey (49 to 85). * Still holding onto the title for longest charted track is Ed Sheeran's "Thinking Out Loud", down three places to No.76 and racking up its 118th week within the Top 100.

NEW Ed Sheeran:Back in 1984 it was amazing to see seven singles lifted from an album of only nine tracks, and that they also all made into the Top 100 chart. I am talking about the Michael Jackson "Thriller" album, which between November 1982 and April of 1984 saw seven singles make the chart (six hit the Top 50, "Human Nature" peaked at No.64). Then Bruce Springsteen's "Born in the U.S.A." did the same thing again between May 1984 and December 1985, this time all seven singles cracked the Top 50. Most recently since the digital age of charts has been around, when a new album came out by a major artist, many of the tracks from the album will also chart, and then eventually become official charting singles later on down the albums life, like Lady Gaga, One Direction, Taylor Swift, Adele and even last years "Lemonade" for Beyonce, which saw seven of the twelve tracks from the album enter the chart (2nd May, 2016), and even Ed Sheeran's last album "+ (Positive)" saw a few tracks enter. This week the entire sixteen tracks of Ed's third album "÷ (Divide)" land not only within the Top 100, but also within the Top 40. He is already charting at No.1 and No.2 with the albums first two entries "Shape of You" (TW-1) and "Castle on the Hill" (TW-2), and then three weeks ago we saw "How Would You Feel (Paean)" (TW-13) debut at No.2, and now the remaining thirteen tracks from the set have entered, with the aforementioned entries of "Dive" (#5), "Perfect" (#6) and "Galway Girl" (#10). These are followed by "Happier" (#16), "Supermarket Flowers" (#19) and "New Man" (#20), meaning he has nine songs within the Top 20, also beating the eight entries Michael Jackson placed within the Top 20 in July of 2009 just after his passing. Further down we see "What Do I Know?" (#24), "Eraser" (#31), "Heart's Don't Break Around Here" (#32), "Barcelona" (#36), "Nancy Mulligan" (#37), "Save Myself" (#38) and finally "Bibia Be Ye Ye" (#39), which again beats the 15 Top 50 entries for MJ. And with Ed having two of his older songs down in the lower fifty in "Thinking Out Loud" (#76) and "Photograph" (#88), overall he has eighteen songs in the Top 100 this week. It doesn't beat the 30 entries that Michael Jackson had in the week after his passing in July 2009 though.

NEW ENTRY:* #87 - Congratulations by Post Malone feat Quavo, is the first chart entry here for the US rapper born Autin Richard Post, and is taken from his December 2016 released debut album "Stoney".

------------------------------//-----------------------------

Ed Sheeran's third album "÷ (Divide)" debuts at No.1 this week, becoming also his third No.1 album in Australia, and his second to debut at the top of the Australian Albums Chart, plus the set sold enough in its first week to debut as 2x▲Platinum in sales.

"÷ (Divide)" also sets another milestone by becoming the 800th No.1 Album in Australia (1965 to 2017), and the 651st for ARIA (1983 to 2017), plus the 444th Album to debut in the No.1 position. This album is on the Asylum (through Warner) label, which makes this new No.1 the fourth for that record label, in fact the labels last No.1 album was with the 100th set, "The Long Run" by The Eagles (22nd October, 1979 for 3 wks), with the labels two other No.1 albums being "Hotel California" by The Eagles (17th Jan, 1977 for 12 wks) and "Simple Dreams" by Linda Ronstadt (13th Feb, 1978 fo 5 wks).

This is Ed's third No.1 album as I mentioned at the top, and overall he has now amassed ten weeks at the top of the ARIA Albums Chart, placing him equal 67th of the list of "Accumulated Weeks at No.1: Albums (1965 to 2017)' alongside Coldplay, Silverchair and Kasey Chambers (from 5 #1's), Human Nature (4 #1's) Bruce Springsteen, Live, Missy Higgins (also with three #1 albums) with Dido and Paul McCartney (2 #1's apiece). And on the list for "Accumualted Weeks at No.1: Albums; 2010's' be moves from seventh to sixth behind the eleven weeks that Eminem has achieved from his two No.1's during this decade, and three weeks behind the 13 weeks achieved by Taylor Swift from her three No.1's.

This is the first time that the word (or even symbol) 'Divide' has appeared in a No.1 album title, the closest such title would be Pink Floyd's "The Division Bell" (3 wks from 17th April, 1994). This new No.1 also becomes the 150th No.1 album by an English act (solo, duo or group), and the 221st by a solo Male Artist (local or overseas) plus the first this year, and the first for an English solo singer since Passenger (3rd October, 2016). Plus on the list of 'Most Weeks at No.1: Albums: English Solo Males', Ed is now equal seventh, check out the list below:

Wks

Artists

38

Rod Stewart

30

Elton John

17

John Lennon

13

James Blunt

12

Robbie Williams

11

Joe Cocker

10

Paul McCartney (and Wings)

10

Ed Sheeran

Ed's new album is not alone near the top of the chart this week, as his last album "x (Multiply)" (8 wks at #1) is back up three places to land at No.3, whilst his debut set "+(Positive)" (1 wk at No.1) leaps up thirteen places to No.4, placing all three of Ed's albums within the Top 4 this week. Not to be outdone is Adele, who is touring Australia at the moment, which helps her third set "25" to rise to No.2 this week, whilst her second album "21" jumps up five places to No.5, and her debut set "19" is up eight spots to sit just outside of the Top 10 at No.12 this week. Her three albums have not been this high together since December 2015 when "25" first came out, and "21" was at No.7 and "19" was at No.13. This is the first time (that I could find) where two acts dominate the Top 5, we got close in July 2009 when Michael Jackson had the top 3 albums after his passing, and a fourth one within the Top 10, but not two acts and only two acts occupying the top five spots.

Outside of the Top 50 domination by Ed and Adele we see the "Trolls" soundtrack down a place to No.6, with the other Top 10 soundtrack this week being "Moana", stable at No.9 for a third week. Last weeks No.1 debut for The Waifs in "Ironbark" drops six places to No.7, and then we see two new entries from local artists. New at No.8 is the debut album for Sydney four piece folk act All Our Exes Live in Texas and "When We Fall", whilst two places lower at No.10 is the second album for Melbourne three-piece rock band Kingswood and "After House, Close to Dawn", which becomes also the bands second Top 10 entry, as their debut set "Microscopic Wars" entered and peaked at No.6 in September of 2014.

UP:* Keith Urban's "Ripcord" is back up six places to No.15 thanks to a new coloured vinyl edition (maybe).* Justin Bieber kicked off his "Purpose" national tour here this past week, and his album zooms back up thirty-seven places to No.18.* Kasey Chambers' "Dragonfly" is back up six places to No.22, thanks to a vinyl release last week.* Jessica Mauboy's "The Secret Daughter" TV Soundtrack rises back up nine places to No.33, ahead of the albums re-packaging and re-issue as of Friday (10th March).* Cold Chisel's "All for You-The Best of" jumps up thirteen places to No.34.* Train rebounds twenty-five places to No.42 with "A Girl, A Bottle, A Boat".* James Arthur is back up fourteen spots to No.55 with his "Back from the Edge" set.* Currently Top 5 in New Zealand is the Daniel O'Donnell album "Back Home Again", which here is up eight places to a new peak of No.72.* The "Frozen" soundtrack rebounds seventeen places to land at No.75 this week.* This past week SBS announced their Eurovision contestant for Australia in 2017's competition as Isaiah Firebrand, whose debut self-titled X-Factor album returns at No.76 this week.* Further returning albums occur for k.d. Lang's "Recollection" (#83) after her recent 25th Anniversary "Inguene" concert tour was announced, "Lifelines" by I Prevail (#84), "Pure Heroine" by Lorde (#86, thanks to her new singles chart entry), Coldplay's "4CD Catalogue Set" (#87), the "Guardians of the Galaxy Vol.1" Set (#90), Leon Bridges' "Coming Home" (#93), the double pack for twenty one pilots in "Vessel"/"Blurryface" (#94), Michael Buble with "Nobody But Me" (#95), Fleetwood Mac and their "Greatest Hits" (#97), "Illuminate" by Shawn Mendes (#98) and Alison Krauss and her recent No.70 entry "Windy City" (#99).

DOWN:* After only three weeks the second soundtrack from the series in "Fifty Shades Darker" (HP-1x1, WI10-3) leaves the Top 10, down three to No.11, whilst three of last weeks four Top 10 debuts fall out this week, "Flying Microtonal Banana" (HP-2, WI10-1) by King Gizzard & the Lizard Wizard falls nineteen places to No.21, "Bardo State" (HP-4, WI10-1) by Horrorshow plummets thirty-one spots to No.35 and tumbling thirty-six places to land at No.43 is "Paint" (HP-7, WI10-1) for Holy Holy.* Stormzy who entered at No.11 with his debut album "Gang Signs & Prayer" falls thirteen places this week to No.24.* The No.1 album from three weeks ago in "Postcards from the Shell House" by Busby Marou drops thirteen spots this week to No.27.* After a surge and new peak at No.23 last week, the QSP album drops this week sixteen spots to No.39.* Ryan Adams' "Prisoner" set descends twenty-one spots to land at No.40. * Falling nineteen places to No.53 are Midnight Oil and their "Essential Oils", which will recoup once they start their national tour later in the year.* The Guns N' Roses set "Appetite for Destruction" drops ninteen places also, down to No.59.* The Human Nature album "Jukebox Vol.II" is down sixteen places to No.62.* George Michael is down eighteen places to No.63 with his first compilation "Ladies and Gentleman", while his second comp "Twenty Five" is down nine to No.68.* Last weeks entry for Little Big Town and "The Breaker" is down forty-one spots to No.67.* The Trainspotting 2 soundtrack falls back down thirty-five places to No.69.* After returning to the chart last week due to her promo tour, the Alessia Cara album "Know-it-All" drops down thirty-seven chart rungs to No.73 this week.* Another return from last week which drops this week is the Hillsong Worship set "Let There Be Light", down twenty-three to No.80, whilst the Hillsong Young & Free debut from last week in "Youth Revival Acoustic" plummets fifty-two places to No.89.* The biggest tumble of the week is a seventy-eight place drop to #100 for "Loaded" (HP-22) by Christie Lamb.

NEW ENTRIES:* #16 (LP#2) - Everything is Forgotten by Methyl Ethel is the Perth bands second album, and first to chart within the Top 100, their first set "Oh Inhuman Spectacle" failed to chart.* #26 (Comp) - Remembrance by Various Artists, is a compilation of poems, letters and music from World War 1, with contributions by Alan Jones, Eric Bogle, Damien Leith and Colin Buchanan amongst its tracks.* #41 (L#1/LP#3) - Here I Am Send Me (Live) by Darlene Zschech is the first Live album by the Hillsong Church group member, plus her third overall release, but first to chart nationally.* #65 (LP#4) - Take Me to the Alley by Gregory Porter is the jazz musican and singers fourth studio album and first to chart here in Australia.

I struggled in 2016 to maintain interest in ARIA due to the inclusion of streaming. Seeing songs spend many weeks at the same position due to the same people listening to the same song over & over.In 2017 I stopped purchasing music entirely, switched off the radio & stopped talking about the charts.This week we have an artist with 16 tracks inside the top 40 an album chart made up of two artists & song that has 9 weeks at #01 due to playlists.Today is the day I said it's okay it's that time, time to say goodbye to something I've loved & adored for twenty years & just enjoy what I know to date.Farewell to all of you Thank you for the fun, the discussions good or bad, for your input. If I've got you on FB great - I will keep in touch.

In fairness I think if streaming wasn't a thing many ed sheeran songs still would have entered...

Anyways, I'm switching off as well now because I just feel like vinyl single sales are just not being represented fully. Seeing songs debut and chart just because someone with a fancy phone can download them? Terrible.

Trends change and the way people consume music changes, and I would hope that our charts reflect that. Right now Ed Sheeran and Adele is getting a lot of love. The positions simply reflect their streams & sales.

Anyways, to the chart itself; nice to see Lorde get a nice debut amongst the sheeran

It's interesting how they allowed an entire album to chart but it sucks for those who aren't a huge fan of Ed Sheeran. This week just makes the Winter 2012 charts tame in comparison (I still remember when The Loop stopped doing Top 20 iTunes countdowns because the songs were on a rival television network).

I'm just glad that it's not as bad as the Irish charts where every single Ed Sheeran Divide track was in the Top 16.

Totally emphasize with NateBoi and i'm on the same boat except i'm not saying goodbye to the site.Let's face it, it hasn't been a 'singles chart' for some years now and it's not about not loving Ed Sheeran.Every time a Beyonce or Katy Perry release an album, sure we're gonna see an influx of tracks on the chart. Same with when an iconic music talent leaves our world we see tracks from yesteryear populate what's popular today.But this is now a whole new realm of chart saturation that looking back in 5 to 10 years time is gonna even infuriate me more, I just can't accept it!As some have already probably noticed I dumped my personal back in August, I was trying to keep it going in the background but couldn't because of the way the chart is. There isn't enough variety or genuinely any wow factor in the music industry anymore and it really hurts accepting that.I really thought my passion for music wouldn't survive what was a dreadful era in the mid two thousands but even then you would still get the odd gem that I still love today or that flash of excitement upon a new release from a big star, now it's just run of the mill over saturation generic crap.I have grave fears that this current era will be my downfall if it doesn't improve, at least i've got the past.

P.S This is in no way directed at Ed Sheeran (as I think he's a talented guy) or any other member

I agree with pretty much everything you said Beanster. I gave up my personal chart at the end of 2016 for much the same reasons as you. When I was younger I never thought it would happen, but I've been progressively losing interest in popular music over the last few years and now I have almost none.

I really wish we still had a 'singles' chart and that all the extras weren't counted, but sadly that isn't ever going to happen again, so in this one instance I'm going to be happy about it because I think Divide is a great album.

Sad to see you go, Nate, as I remember you being here as far as I can remember coming here (almost 10 years now!). If you do choose to stick around, I'll be happy to see your name pop up here and there

Personally, I have no problems with the saturation, but I've long advocated for the main chart being called a Songs chart and not a Singles chart. Charts have always been subject to manipulation, in my opinion, whether it be from physical singles being deleted, singles being re-released, digital sales being denied, the power of airplay on sales (and the obvious potential for payola there), and now with the rising strength of playlists on streaming platforms (not just Spotify, Apple had success pushing Betty Who too).

What I feel we'll see moving forward will be saturation like this around major album releases for a couple of weeks, then support for favourites (or the play listed chosen few) while the rest of the album tracks fall away. To be honest, this actually lines up with how I usually experience albums unless they're exceptional, so I'm not too fussed. Yes, this means that long standing records will be broken but I do feel it's a more accurate representation of what has been listened to in the last week.

By the way, I do also love the amount of conversation this event has provoked. While there's varying views on it as a whole, it's clearly the biggest thing to happen in a long while!

Well, I'm an oldie who still loves current charting music despite strongly disagreeing with the inclusion of streaming and 'non-singles' to the ARIA chart. I still find that the chart is more-or-less a singles chart, it's usually only the flooding of album tracks into the chart that truly reminds me it's not technically a 'singles' chart anymore. I guess if it becomes a more frequent occurrence then it may test my patience.

I would have to agree with what's been said, the singles chart is more a songs chart for the last decade. My problem is when digital first came in and songs were hanging around for a year +. Then the rules changed and anything could enter the chart. For a couple of years you had 2 to 5 Glee songs enter on a weekly basis, not to mention a song from the movie Hairspray. Like in the old days, a new song should be released every few months from an album and not have random songs entering willy nilly. You buy the whole album or just the song(s) that's already a single.In the case of Ed Sheeran's chart dominance this week, it could be worse. It also provides a clean out of the Top 50... for the 2nd time this year.

Yeah, it's nice to see some genuine (and friendly!) discussion here with different perspectives. I've been reading a lot of it around the place and it's made me ponder what the charts really represent.

In general I've often felt that the charts have a problem in that their previous standings are used as a perpetual barometer of popularity simply because it worked once before. What I mean with this is that it's seen as an overview of the population's tastes, though in reality it's only a very small subset who are influencing the chart each week. With the lifespan of a popular single's relevance spanning months, it becomes an even smaller fraction of that single's fanbase that influence its weekly position. This was obviously fine for a long time because the charts ran like a well-oiled machine: songs would debut lowly, climb up, and then drop back down.

But I remember the first time I saw actual sales figures for the chart, it was in 2009 around the time of "Right Round" and "Love Story" battling out. I read that the #1 single in the country was selling around 15,000 copies and it just seemed so pitiful to think that less than 0.1% of the nation had bought the most popular song of the week.

Sure enough, that low figure would prove the standards of the chart to be challenged since you'd get things like Short Stack, Glee, The Voice etc disrupting the standard proceedings of the chart with their high peaking, short shelf-life, and as such we have tracks that peaked at #1 that have sold less copies than songs that have never been among the top 100 sellers of the week. While a peak position is the most readily used measure of a song's success, it becomes increasingly separate from the big picture and not entirely useful information on its own.

This is all ok because cumulative chart stats are just for fun anyway, the charts work better as a week-by-week snapshot of the bigger picture. In a way, what's happened this week is for me, the most ideal way that the chart should be. Not because it's ridiculous, but because it is so thoroughly unfiltered and represents the public making their own choice. My perspective is that of following music and the charts for roughly a decade. I've always felt like a bit of an outsider to the charts, partly because it started as a curiosity outside of my general music listening habits, and anyone who's tried to comment on my charts over the years will know that's never changed

I think a major thing that's made me an outsider compared to everyone else is that I've never really had a grasp at the mythology of 'the single'. This isn't a knock to anyone who thinks otherwise to me, more just an observation that we've come into music with different backgrounds. Such was this disparity that I pretty much have no recollection of knowing of any significance of 'the single' until I came to this site and it was a much bigger part of the discourse than I'd encountered prior, as just someone who had no internet connection and got all of that from the radio. Perhaps it's netted from growing up with triple j who play by their own rules with regards to album cuts, but the sort of staggered acknowledgement of songs that had been available to listen and download for months or even years prior always struck me as odd. Certainly it made sense pre-digital, but after that it just felt archaic. Though in a sense I did get it because I wasn't immune to it myself; having owned "The Black Parade" and "Sam's Town" since around when they were released, it wasn't still until they got music videos that "Teenagers" and "For Reasons Unknown" became huge favourites that I'd just been ignoring for no reason before.

It seems to me though that more younger music listeners are in a similar boat to me. Ever since the advent of streaming, we've seen less and less of the chart be filled with 3rd and 4th singles because ironically nothing kills an album era faster than releasing an album. Once the whole album has been released, it's harder along the line to convince listeners that the 'new' single is actually 'new', except with the workaround of releasing remix/rent-a-rapper versions of the singles to inject some conversation into the track. Because that's what it all boils down to. Once the album comes out, the internet is absolutely abuzz with discussion in all corners, from off-the-dome reactions on reddit or Twitter, and music reviews and their associated comment sections if they're unfortunate enough to have one.

So this Sheeran domination, to me, represents this discourse most accurately. For the main demographic that consume popular music, he is practically the biggest pop star in the world right now, so it's not bizarre to tally up the numbers and find that even his deluxe album tracks are bigger this week than the songs that were #1 on the chart 6 months ago. When you think about it, "÷" is possibly the most listened to album in the space of a week, EVER. So many people are listening to it as I speak, I'm not even a fan and I've pretty much heard it 3 times now. I can acutely discuss why "Eraser" works and "New Man" does not, and if ever was there a time to discuss it, it would be now, not 2 calendar years and half a million album sales later...looking at you "Water Under The Bridge"

But I won't pretend this is all rosy because it isn't, and if anything, this chart domination sheds light to the biggest problem with the charts, especially in recent times. That is that the metaphorical gatekeepers of the chart do their best to prevent left-field oddities. Ironically enough, Ed sits on both sides of this because of the album tracks business. What I mean by this is that we all know that most of these album tracks will tumble, because they're not being played on the radio, they're not being promoted on iTunes and they're not on Spotify-curated playlists. All of these are essentially gatekeepers because they help to maintain the status quo which benefits only those who have broken through. But outside of these album tracks, Ed is a huge beneficiary of this system because radio will play his songs, iTunes will promote his songs, and Spotify will give him all the prime playlist promotion he needs to make his songs hits even if everyone hated them. Spotify is most relevant here because they're the least forgiving gatekeeper. Unless you're already super popular, or you're some random producer from Europe who's cobbled together an inoffensive dance track with indistinct vocals/lyrics and a Fisher-Price breakdown, it's incredibly difficult to break through. Ed's popularity is so far ahead of everyone else that he can sit with no close competition at the top of the chart for 2 months and counting. There's not a strong enough counter-culture to allow for any dissonance which is why so many of the songs that are able/allowed(?!) to break through to the charts are so similar. When a true oddity does get some traction, it feels like Spotify is doing its darndest to keep it in its place, see Disturbed having an iTunes #1 single that barely cracked the Spotify top 100 because it was dogged so hard.

So what I can get from all this is that I'm at least partially happy for this outcome. Not out any schadenfreude or spite to anyone (best wishes if you're reading this Nate!) but because it did at the very least manage to give an energetic kick to the charts. Look how much discussion it's brought to this chart section that is normally just a barren wasteland outside of bulion and myself's data dumps. I don't blame anyone for not commenting much when there isn't anything much to say about the same handful of songs moving a few places a week up and down the charts, and an increasing disappearance of those niche moments that divide people between utter delight and terror. For the first time in ages, something exciting has happened on the charts.

If we are going down this path of every track on an album making the singles chart (granted there are only 3-4 artists that could do this), it would be nice to see ARIA publish its Hitseeker chart freely each week and make it larger instead of hiding it in their "report".

It's all well and good for ARIA to say the current chart formula accurately portrays current music consumption, but it does nothing to help newer/unique artists to break through, in particular Australian ones.

Coming late to the discussion but I believe that the singles chart should be called a songs chart. In some ways, the situation in the past ten years has returned where songs (not albums) were the main focus. There were occasions where Elvis and the Beatles would not put hit singles on their albums. You also had the singles charts dominated by newer acts ie rock and roll while pre-Beatles the albums charts was dominated by Broadway soundtracks, folk artists and trad pop artists.

Having the charts consisting of songs is a more honest representation whereas before there used to be a lot of jiggery pokery with singles with hit singles being withdrawn from sales to help promote the album.

I'm interested to know what the nomenclature question ("singles chart" vs. "songs chart") means here. Is it just a dislike for the conceptual drift required to call some chart entrants (including most of Sheeran's this week) "singles"? Or would a "songs chart" mean something different (with, say, album purchases bolstering constituent tracks)? It's a trite observation to say that the line between what is and isn't an official single has become so blurred as to be almost meaningless, but does that invalidate the notion of a chart that specifically chronicles the success of individually available songs, such that it could be fairly called a "singles chart"?

It is somewhat disappointing that one artist can dominate the charts so thoroughly, but no more disappointing that the increasing stagnation of recent years and the underlying causes of that, or indeed other industry practices that have shaped the charts for a long time. Indeed, in as much as this counters chart stagnation, I'm glad to see it: there's something a lot more "immediate" about Sheeran's success, and immediacy has been in short supply. On the whole, I'm rather ambivalent about it...

Due to the high costs of physical releases, singles used to be carefully chosen tracks that were (usually) from albums and were specially promoted and marketed by their record companies. In many cases the album tracks would be remixed/reworked or often edited for their release as singles to be more appealing for airplay. To make the releases more marketable, other tracks would be included such as acoustic/live/instrumental/a cappella/karaoke versions, remixes and/or other tracks that were recorded for the album which may or may not have made the final cut (i.e. B-sides).

Singles used to be more important, particularly in artist awareness and promoting album sales. Whereas these days, songs for the most part are simply downloaded/streamed tracks from albums that record companies allow to chart on the singles charts. I don't know if I'm making much sense - I'm better at compiling music lists than talking about them. lol

1. Shape Of You2. Something Just Like This3. Castle On The Hill4. Green Light5. It Ain't Me6. Stay7. Galway Girl8. Chameleon9. Issues10. That's What I Like11. All Time Low12. Chained To The Rhythm13. I Don't Wanna Live Forever14. You Don't Know Me15. Perfect16. Dive17. Paris18. Scared To Be Lonely19. Slide20. Waterfall

I'm rather late to the discussion, but I just can't find any mention, or if anyone else is confused how the "singles" and album sales are split in cases such as Ed's. Is it the case that I could buy 5 Ed songs separately to see if I like them, then the next day complete my album, with that entire purchase equally 5 singles sales AND 1 album sale? As opposed to me just buying the album, and it counting as 1 album sale.

There has to be some sort of "complete my album" thing going on. Given that the only way to buy each song from "➗" HAS to be done via the album (bar the remix/acoustic versions), who buys a lesser number of the 16 songs separately, to justify ALL 16 songs reaching the Top 40? If the current accreditations show anything, current singles sales are very high compared to the 90's, so even a song reaching #40 is selling a pretty decent amount of units considering. If you're buying the absolute worst performing Ed Sheeran song from the album, then you HAVE to be buying the complete album eventually.

If you buy even 1 song FROM the album, and it counts towards the singles chart, when you complete the album, it shouldn't count for one or the other. You can't double dip the sales into both charts. Sure you can't reverse the single sale, but the chart is already set for the previous week. I guess what I'm trying to say is why have the other 13 tracks or so eligible for the singles chart, when they will (most probably) be converted to a "complete my album" anyway. It's kinda cheating.

It's a complex issue, that I'm not sure if I'm missing something that combats this, or I just have it wrong.

Yeah it's always been a messy thing to implement in the chart, and they've tried tackling it in the past. Around 2012, there was a system in the chart where if you use the 'Complete My Album' function, it actually subtracts the sales from those singles for that week. Anyone who remembers watching the charts back then will recall some oddities, like P!nk's "Blow Me (One Last Kiss)" dropping sharply the week the album came out. And the record for the biggest drop from #1 is partly because of this as well (I'd say that "Stay With Me Baby" probably should have been #20ish in its 2nd week if not for this rule). I even have a recollection on the Billboard Charts of Britney's "Hold It Against Me" having negative sales on album week!

It's hard to make up my mind on this because it's difficult to judge buyer habits just from the raw data. What we see is a list of all the album tracks in order of how much they're selling, but we can't really determine what individual buyers are doing to contribute to it. If I were to take a guess though, I do think it's generally just cherry picking of favourites (especially since Ed's YouTube channel has posted every single track), where people might only be buying a few themselves, but this is the time in the album's life where it will be getting the most concentrated attention, so the numbers it pulls, even for this cherry picking, is so overwhelming that it can take over the chart. But then there could be people buying for other reasons; maybe they accidentally bought the standard without seeing the deluxe and are quickly buying those deluxe tracks? I myself am guilty of similar tomfoolery: Beyonce's "Lemonade" album was released last year with such a set up that if you didn't want the visual album, and you'd already got a copy of "Formation" which was released for free on TIDAL months prior, it actually worked out to be about the same price to buy every individual track, and that's exactly what I did.

I suppose overall we (maybe just me ) can enjoy seeing a chart marvel with the knowledge that it hasn't disrupted the chart in the same way it has over in the UK